Showing posts with label Barcelona. Show all posts
Showing posts with label Barcelona. Show all posts

Tuesday, April 14, 2026

Barcelona - The Sleeping Beauty - Tchaikovsky - Bolshoi Ballet - Nikolai Tsiskaridze - Jun /Jul 2000




























More than twenty-five years ago, in the summer of 2000, the visit of the Bolshoi Ballet to Barcelona’s Gran Teatre del Liceu became an extraordinary artistic event. The production of The Sleeping Beauty was received with overwhelming enthusiasm, and the theatre responded with full houses and electrifying applause. It was, without doubt, a triumphant success — but what made it truly unforgettable was the exceptional cast the company brought with them.

The Bolshoi arrived not with a reduced touring ensemble, but with a constellation of its finest dancers, covering all principal and character roles with remarkable depth. The level was consistently world-class across all seven performances (June 27–30, July 1–2, 2000).

Below is a clear overview of the principal cast, with dates for each performer:


Principal Roles

  • Princess Aurora
    • Anna Antonicheva — June 27, 30; July 2
    • Svetlana Lunkina — June 28; July 1
    • Anastasia Goriacheva — June 29; July 1
  • Prince Désiré
    • Nikolai Tsiskaridze — June 27, 29; July 1, 2
    • Konstantin Ivanov — June 28, 30; July 1

Royal Court

  • King Florestan XXIV
    • Rinat Arifulin — All performances
  • Queen
    • Irina Dmitrieva — All performances

Key Characters

  • Carabosse
    • Gennadi Yanin — All performances
  • Lilac Fairy
    • Nina Speranskaya — June 27, 29; July 1, 2
    • Ekaterina Shipulina — June 28, 30; July 1
  • Catalabutte
    • Sergei Bobrov — All performances

Fairies (Variations & Jewels)

  • Fairy of Tenderness
    • Oksana Tsvetnitskaya — All performances
  • Fairy of Joy
    • Olga Suvorova — June 27, 29; July 1, 2
    • Marianna Rizhkina — June 28, 30; July 1
  • Fairy of Generosity / Gold Fairy
    • Natalia Malandina — All performances
  • Fairy of Harmony
    • Olga Zhurba — All performances
  • Fairy of Temperament / Diamond Fairy
    • Elena Andrienko — June 27, 29; July 1, 2
    • Marianna Rizhkina — June 28, 30; July 1
  • Sapphire Fairy
    • Ekaterina Shipulina — June 27, 29; July 1, 2
    • Nina Speranskaya — June 28, 30; July 1
  • Silver Fairy
    • Iulia Efimova — All performances

Act III Divertissements

  • Princess Florine
    • Marianna Rizhkina — June 27, 29; July 1, 2
    • Elena Andrienko — June 28, 30; July 1
  • Blue Bird
    • Yuri Klevtsov — June 27, 29; July 1, 2
    • Vladimir Neporozhni — June 28, 30; July 1
  • Puss in Boots / Prince Fortuné
    • Ruslan Pronin — All performances
  • Other featured roles
    • Vladimir Neporozhni, Igor Zakhardin, Alexei Popovtchenko — Princes
    • Elena Barikina — Duchess
    • Vyacheslav Golubin — Gallifron / The Wolf
    • Anna Ivanova — Little Red Riding Hood
    • Olga Suvorova — Cinderella
    • Elina Palshina — White Cat

What stood out above all was the presence of Nikolai Tsiskaridze, already a towering figure of the ballet world. His performances as Prince Désiré were the highlight of the run — technically flawless, dramatically compelling, and received with overwhelming admiration. Alongside him, the rotating Auroras and the richness of the supporting cast created a rare sense of depth: every performance offered a slightly different constellation of stars, yet maintained the same exceptional standard.

Even today, this level of casting feels remarkable. The Bolshoi did not simply tour — it showcased its full artistic power. That is why, decades later, these performances at the Liceu are still remembered not just as a success, but as a benchmark of excellence in classical ballet.

 A finales de junio del año 2000, el Gran Teatre del Liceu de Barcelona vivió uno de esos momentos que quedan grabados para siempre en la memoria cultural de la ciudad. La mítica compañía del Ballet del Teatro Bolshoi de Moscú desembarcó en el escenario barcelonés con una producción fastuosa de La bella durmiente, coreografiada originalmente por Marius Petipa sobre la inmortal música de Piotr Ilich Chaikovski, en la versión escénica de Yuri Grigoróvich. Fueron siete funciones —los días 27, 28, 29 y 30 de junio, y 1 y 2 de julio— que se convirtieron en un auténtico acontecimiento.

Barcelona recibió al Bolshoi en pleno verano con una expectación enorme, y la respuesta del público no pudo ser más entusiasta. El Liceu vibró de emoción ante una compañía que llegaba con todas sus grandes estrellas, desplegando un nivel artístico extraordinario en cada función.

En el reparto destacaban figuras de primer nivel. El Rey Florestan XXIV fue interpretado por Rinat Arifulin, acompañado por Irina Dmitrieva como la Reina. El papel de la Princesa Aurora —corazón del ballet— se alternó entre tres grandes bailarinas: Anna Antonitxeva (27, 30 de junio y 2 de julio), Svetlana Lunkina (28 de junio y 1 de julio) y Anastasia Goriatxeva (29 de junio y 1 de julio).

Como Príncipe Desiré brilló con especial intensidad Nikolai Tsiskaridze, quien bailó los días 27 y 29 de junio, y 1 y 2 de julio, consolidándose como la gran estrella de aquellas veladas. Su presencia escénica, técnica impecable y carisma lo confirmaron ante el público barcelonés como uno de los mejores bailarines del mundo. Alternó el papel con Konstantin Ivanov (28 y 30 de junio, y 1 de julio).

El resto del reparto completaba un conjunto de enorme riqueza artística: Sergei Bobrov como Catalabutte; Vladimir Neporozhni, Igor Zakhardin, Ruslan Pronin y Alexei Popovtchenko como los distintos príncipes; Elena Barikina como la Duquesa; y Viatcheslav Golubin en los roles de Gallifron y el Lobo.

Especial mención merece la imponente Carabosse de Gennadi Ianin y la figura protectora de la Fada de los Lilas, interpretada por Nina Speranskaya (27 y 29 de junio, 1 y 2 de julio) y Ekaterina Shipulina (28 y 30 de junio, 1 de julio). Las variaciones de las hadas reunieron a bailarinas como Oksana Tsvetnitskaya, Olga Suvorova, Marianna Rizhkina, Natalia Malandina, Olga Zhurba y Elena Andrienko, que aportaron brillo, precisión y elegancia a cada aparición.

En el tercer acto, el desfile de personajes de cuento —desde el Gato con Botas hasta Caperucita Roja, Cenicienta o el Pájaro Azul (interpretado por Yuri Klevtsov y Vladimir Neporozhni según la función)— añadió un carácter festivo y espectacular a la producción.

La dirección musical estuvo a cargo de Alexander Kopilov, al frente de la Orquesta Sinfónica del Gran Teatre del Liceu, mientras que la escenografía y el vestuario, obra de Simon Virsaladze, envolvían la escena en un lujo visual digno de la tradición del Bolshoi.

Han pasado más de veinticinco años desde aquellas noches de verano, pero el recuerdo sigue vivo. Fue más que una serie de funciones: fue un acontecimiento histórico, un encuentro entre dos grandes tradiciones culturales, un momento en el que Barcelona se convirtió en capital mundial del ballet.

Hoy, esta misma producción puede volver a verse en Moscú, interpretada por una nueva generación de estrellas. Sin embargo, quienes estuvieron allí saben que aquellos días en el Liceu fueron irrepetibles. Porque no solo se vio un gran ballet: se vivió una emoción colectiva que aún resuena en la memoria de la ciudad.


Wednesday, April 8, 2026

Esplugues de Llobregat - Tower One

S’élevant au-dessus des collines verdoyantes à l’entrée de Esplugues de Llobregat, Tower One (Aparto Diagonal Suites) redéfinit l’expérience du skyline de Barcelona. Bien plus qu’un simple hôtel moderne, il ressemble à un balcon privilégié suspendu entre la ville et le ciel.

Ce qui rend ce bâtiment véritablement unique, c’est son “effet 60e étage”. Bien qu’il compte 25 étages et mesure 116 mètres de hauteur, sa position stratégique à Finestrelles le place à plus de 200 mètres au-dessus du niveau de la mer. Le résultat est spectaculaire : depuis ses fenêtres, la vue s’étend à l’infini, avec Avinguda Diagonal traçant une ligne parfaite jusqu’à la Méditerranée scintillante.

De jour, le panorama est élégant et majestueux. De nuit, il devient presque cinématographique — un océan de lumières provenant de la ville, du port et de l’aéroport, donnant la sensation de flotter au-dessus de Barcelone.

Conçue par Enric Batlle, la tour allie durabilité et confort contemporain. Sa façade végétalisée apporte vie et fraîcheur à l’édifice, tandis que ses 526 chambres soigneusement conçues s’adaptent aussi bien aux courts qu’aux longs séjours.

Au sommet, une piscine à débordement couronne le bâtiment — un lieu où l’eau, le ciel et la ligne d’horizon se fondent en une expérience inoubliable.

Tower One n’est pas seulement une question de hauteur, mais de perspective — un espace où architecture, nature et émotion se rencontrent pour vous faire sentir au-dessus de tout.


Rising above the green hills at the edge of Esplugues de Llobregat, Tower One (Aparto Diagonal Suites) redefines the skyline experience of Barcelona. More than just a modern hotel, it feels like a privileged balcony suspended between the city and the sky.

What makes this building truly extraordinary is its unique “60th-floor effect.” Although it stands at 25 stories and 116 meters tall, its elevated position in Finestrelles places it over 200 meters above sea level. The result is breathtaking: from its windows, the view stretches endlessly, with Avinguda Diagonal cutting a perfect line toward the shimmering Mediterranean.

By day, the panorama is elegant and expansive. By night, it transforms into something almost cinematic — a sea of lights from the city, the port, and the airport, creating the sensation of floating above Barcelona itself.

Designed by Enric Batlle and developed as part of a forward-thinking urban project, Tower One blends sustainability with contemporary comfort. Its lush green façade breathes life into the structure, while inside, 526 thoughtfully designed rooms cater to both short and extended stays.

At the top, an infinity pool crowns the building — a place where water, sky, and skyline merge into a single, unforgettable experience. Here, relaxation becomes something magical, framed by one of the most stunning views in the region.

Tower One is not just about height in meters, but about elevation in experience — a place where architecture, nature, and perspective come together to make you feel truly above it all.

Elevándose sobre las colinas verdes a la entrada de Esplugues de Llobregat, Tower One (Aparto Diagonal Suites) redefine la experiencia del skyline de Barcelona. Más que un hotel moderno, es un auténtico balcón privilegiado suspendido entre la ciudad y el cielo.

Lo que hace único a este edificio es su “efecto planta 60”. Aunque cuenta con 25 plantas y 116 metros de altura, su ubicación estratégica en Finestrelles lo sitúa a más de 200 metros sobre el nivel del mar. El resultado es impresionante: desde sus ventanas, la vista se extiende sin límites, con Avinguda Diagonal trazando una línea perfecta hasta el Mediterráneo.

De día, la panorámica es elegante y majestuosa. De noche, se transforma en un espectáculo casi cinematográfico: un mar de luces de la ciudad, el puerto y el aeropuerto que transmite la sensación de sobrevolar Barcelona.

Diseñada por Enric Batlle, la torre combina sostenibilidad y confort contemporáneo. Su fachada vegetal aporta vida al edificio, mientras que sus 526 habitaciones, cuidadosamente diseñadas, se adaptan tanto a estancias cortas como prolongadas.

En la azotea, una piscina infinita corona el edificio — un lugar donde el agua, el cielo y el skyline se funden en una experiencia inolvidable.

Tower One no solo se mide en metros, sino en sensaciones: un espacio donde la arquitectura, la naturaleza y la perspectiva se unen para hacerte sentir por encima de todo.

Saturday, December 20, 2025

Barcelona - Vila Olimpica

In the photograph, two tall and striking towers dominate the skyline. The first tower, visible in the foreground and characterized by its gray façade, is the Mapfre Tower, which is entirely dedicated to office use. The second tower, slightly set back in the distance, is the hotel tower, a landmark building that combines hospitality, residential exclusivity, and panoramic public spaces.

The Hotel Tower

The hotel tower rises to a total of 44 floors and features a carefully designed vertical circulation system that clearly separates public, hotel, and residential uses.

The first 33 floors are served by six high-capacity main elevators providing direct access to every level, including the underground parking areas. These elevators allow guests and staff to move efficiently throughout the lower and middle sections of the building without the need for transfers, ensuring comfort and smooth circulation even during peak hours.

On the 33rd floor, the tower houses a very large panoramic space, used as a cocktail lounge or the hotel’s private club. This level acts as a social and representational heart of the building, offering exceptional views over the city and the coastline.

Above this level, at the 34th floor, the building features a refined sky lobby, which serves as a transition point between the hotel floors and the upper residential levels. From this sky lobby, guests access two dedicated local elevators that operate exclusively between the 34th and 43rd floors. These upper floors contain exclusive apartments, designed for maximum privacy and luxury. Some of these residences include private terraces, offering breathtaking views and outdoor living spaces high above the city.

The vertical transportation strategy in the hotel tower ensures clear functional separation, reduced congestion, and a sense of exclusivity for residents and high-end guests. From virtually every point in the building, the views are spectacular, reinforcing the tower’s status as a premium architectural and urban landmark.

The Mapfre Tower (Office Tower)

The Mapfre Tower, the first gray tower visible in the image, is entirely dedicated to office use and is distinguished by its innovative double-deck elevator system.

Upon entering the building, visitors are required to use an escalator to move up one level, allowing them to access the upper cabin of the double-deck elevators corresponding to their destination floor. This system enables two elevator cabins to operate within the same shaft simultaneously, significantly increasing transport capacity while minimizing core space.

Up to the 24th floor, the building is served by ten elevators, ensuring efficient circulation for the high volume of daily office users. From the 24th floor upward, the number of elevators is reduced to six, which continue to serve the upper office levels. The highest office floor is the 39th, above which the remaining floors are dedicated to technical facilities.

At the very top of the tower, on the roof terrace, there is a helipad, underlining the tower’s corporate prestige and its role as a major business hub.

Urban and Historical Context

These two towers are located in an area that underwent a dramatic transformation as a result of the 1992 Olympic Games. Prior to 1992, this part of the city was largely characterized by factories, warehouses, and heavy industrial activity. It was an isolated, underdeveloped zone with little connection to the rest of the city and virtually no relationship with the waterfront.

The Olympic Games marked a turning point in the city’s history. Large-scale urban regeneration projects reshaped the area, opening it up to the sea and introducing new infrastructure, public spaces, residential developments, and iconic architecture. The former industrial landscape was replaced by a modern, vibrant, and attractive urban district.

Today, the area surrounding the towers is one of the most dynamic and desirable parts of the city, combining business, tourism, residential life, and leisure. Wide promenades, green spaces, cultural venues, and contemporary buildings coexist in a balanced urban environment. What was once an industrial wasteland has become a beautiful and lively neighborhood, symbolizing the success of the city’s Olympic-driven transformation.

Together, the hotel tower and the Mapfre Tower stand not only as architectural landmarks but also as powerful symbols of how thoughtful planning, advanced building technology, and historical opportunity reshaped the city into the remarkable place it is today.


La photographie montre deux tours élancées et imposantes. La première, grise, est la tour Maphre, principalement destinée aux bureaux ; la seconde, légèrement en retrait, est la tour de l’hôtel.

La tour de l’hôtel compte 44 étages. 

Les 33 premiers étages sont desservis par six ascenseurs principaux à accès direct, reliant rapidement tous les niveaux, y compris le parking. Ce système assure une circulation fluide et indépendante aux clients et au personnel. 

Le 34e étage abrite un élégant hall panoramique, véritable carrefour de circulation verticale. De là, deux ascenseurs locaux desservent exclusivement les étages supérieurs, du 34e au 43e. Ces étages abritent des appartements de luxe, dont certains disposent de vastes terrasses privatives offrant des vues spectaculaires sur la ville et la mer. 

Le 33e étage abrite une grande salle multifonctionnelle, utilisée comme bar à cocktails ou comme club privé de l’hôtel, un espace panoramique prestigieux. Grâce à la hauteur et à l’emplacement privilégié de la tour, la vue est extraordinaire depuis chaque point du bâtiment. 

La tour Maphre, la première tour grise visible au premier plan, est entièrement dédiée aux bureaux et se distingue par un système vertical particulièrement innovant : des ascenseurs à double cabine.

À l’entrée, les visiteurs doivent emprunter un escalator pour monter d’un niveau et accéder à la cabine d’ascenseur supérieure correspondant à leur étage de destination. Ce système optimise la circulation et réduit les temps d’attente.

Dix ascenseurs desservent les étages jusqu’au 24e, garantissant une capacité de transport élevée aux heures de pointe.

À partir du 24e étage, leur nombre est réduit à six, dédiés aux étages supérieurs.

Le dernier étage dédié aux bureaux est le 39e ; les étages suivants abritent des espaces techniques, tandis que la terrasse est équipée d’un héliport, un atout qui souligne le caractère managérial et international du bâtiment. 

D’un point de vue urbain, ces tours se situent dans un quartier qui a connu une transformation radicale grâce aux Jeux olympiques de 1992. Avant cet événement, la zone était presque exclusivement occupée par des usines, des entrepôts et des infrastructures industrielles, offrant un tissu urbain totalement différent et peu attrayant. 

Les Jeux olympiques ont marqué un tournant historique : le quartier a été réaménagé, ouvert sur la mer, doté de nouveaux espaces publics, de bâtiments emblématiques et d’infrastructures modernes. Aujourd’hui, ce quartier est dynamique, élégant et agréable à vivre, un exemple parmi les plus réussis de rénovation urbaine, dont les deux tours sont un symbole éloquent. 

Ce qui était autrefois une zone industrielle est devenu un lieu splendide, parfaitement intégré à la ville et apprécié tant par ceux qui y travaillent que par les visiteurs.

На фотографии изображены две высокие, стройные башни. Первая, серая, — это башня Maphre, предназначенная в основном для офисов; вторая, расположенная чуть дальше, — это гостиничная башня.


Гостиничная башня имеет 44 этажа.

Первые 33 этажа обслуживаются шестью основными лифтами с прямым доступом, быстро соединяющими все уровни, включая парковку. Эта система обеспечивает плавное и независимое перемещение гостей и персонала.


На 34-м этаже находится элегантный скай-лобби, который служит вертикальным центром перемещения. Отсюда два локальных лифта обслуживают исключительно верхние этажи, с 34-го по 43-й. На этих уровнях расположены эксклюзивные апартаменты, некоторые из которых имеют большие частные террасы с захватывающим видом на город и море.


На 33-м этаже находится большой многофункциональный зал, используемый как коктейльный лаунж или частный клуб отеля, — высокопрестижное панорамное пространство. Виды из любой точки здания необыкновенны благодаря высоте башни и ее привилегированному расположению.


Башня Мафре, первая серая башня, видимая на переднем плане, полностью отведена под офисы и отличается особенно инновационной вертикальной системой: двухкабинными лифтами.

У входа посетители должны подняться на один уровень на эскалаторе, чтобы попасть в лифтовую кабину, соответствующую их этажу назначения. Эта система оптимизирует поток и сокращает время ожидания.


До 24-го этажа работают десять лифтов, обеспечивая высокую пропускную способность в часы пик.

Начиная с 24-го этажа, количество лифтов сокращается до шести, предназначенных для верхних уровней.

Верхний этаж, отведенный под офисы, — это 39-й; последующие этажи отведены под технические помещения, а на террасе расположена вертолетная площадка, что подчеркивает управленческий и международный характер здания.


С точки зрения урбанизма, эти башни расположены в районе, который претерпел радикальные изменения благодаря Олимпийским играм 1992 года. До этого события район был занят почти исключительно заводами, складами и промышленной инфраструктурой, с совершенно другой и непривлекательной городской застройкой. Олимпийские игры стали историческим поворотным моментом: район был перестроен, открыт к морю, оборудован новыми общественными пространствами, знаковыми зданиями и современной инфраструктурой. Сегодня этот район динамичен, элегантен и пригоден для жизни, являясь одним из самых успешных примеров городской регенерации, и две башни являются ярким тому символом.

То, что когда-то было промышленным районом, превратилось в великолепное место, полностью интегрированное в город и ценимое как теми, кто здесь работает, так и теми, кто приезжает в гости.

Nella fotografia si possono vedere due torri alte e slanciate. La prima, di colore grigio, è la Torre Maphre, destinata principalmente a uffici; la seconda, leggermente più arretrata, è la torre dell’hotel.


La torre dell’hotel si sviluppa su 44 piani.

I primi 33 piani sono serviti da sei ascensori principali ad accesso diretto, che collegano rapidamente tutti i livelli, compreso il parcheggio. Questo sistema consente una circolazione fluida e indipendente per gli ospiti e il personale.


Al 34º piano si trova un elegante sky lobby, che funge da nodo di distribuzione verticale. Da qui partono due ascensori locali dedicati esclusivamente ai piani superiori, dal 34º al 43º piano. In questi livelli sono situati appartamenti esclusivi, alcuni dei quali dotati di ampie terrazze private, con viste spettacolari sulla città e sul mare.


Il 33º piano ospita una grande sala multifunzionale, utilizzata come cocktail lounge o club privato dell’hotel, uno spazio panoramico di grande prestigio. Da ogni punto dell’edificio le vedute sono straordinarie, grazie all’altezza e alla posizione privilegiata della torre.


La Torre Maphre, la prima torre grigia visibile in primo piano, è interamente dedicata a uffici e presenta un sistema verticale particolarmente innovativo: ascensori a doppia cabina.

All’ingresso, i visitatori devono utilizzare una scala mobile per salire di un livello, così da accedere alla cabina superiore dell’ascensore corrispondente al piano di destinazione. Questo sistema permette di ottimizzare i flussi e ridurre i tempi di attesa.


Fino al 24º piano operano dieci ascensori, garantendo un’elevata capacità di trasporto nelle fasce di maggiore affluenza.

Dal 24º piano in poi, il numero si riduce a sei ascensori, dedicati ai livelli superiori.

L’ultimo piano adibito a uffici è il 39º; i piani successivi sono destinati a locali tecnici, mentre sulla terrazza si trova un eliporto, elemento che sottolinea il carattere direzionale e internazionale dell’edificio.


Dal punto di vista urbano, queste torri si inseriscono in un’area che ha vissuto una trasformazione radicale grazie alle Olimpiadi del 1992. Prima di quell’evento, la zona era occupata quasi esclusivamente da fabbriche, magazzini e infrastrutture industriali, con un tessuto urbano completamente diverso e poco attrattivo.


Le Olimpiadi hanno rappresentato un punto di svolta storico: l’area è stata riqualificata, aperta al mare, dotata di nuovi spazi pubblici, edifici iconici e infrastrutture moderne. Oggi questo quartiere è dinamico, elegante e vivibile, uno degli esempi più riusciti di rigenerazione urbana, e le due torri ne sono un simbolo evidente.

Quello che un tempo era un distretto industriale è diventato un luogo splendido, pienamente integrato nella città e apprezzato sia da chi ci lavora sia da chi lo visita.

Das Foto zeigt zwei hohe, schlanke Türme. Der erste, graue, ist der Maphre Tower, der hauptsächlich Büros beherbergt; der zweite, etwas weiter hinten, ist der Hotelturm.


Der Hotelturm hat 44 Stockwerke.

Die ersten 33 Stockwerke sind über sechs Hauptaufzüge mit direktem Zugang erreichbar, die alle Ebenen, einschließlich der Tiefgarage, schnell miteinander verbinden. Dieses System ermöglicht Gästen und Mitarbeitern eine reibungslose und unabhängige Fortbewegung.


Im 34. Stockwerk befindet sich eine elegante Sky Lobby, die als vertikaler Verkehrsknotenpunkt dient. Von hier aus fahren zwei separate Aufzüge exklusiv in die oberen Stockwerke, vom 34. bis zum 43. Stockwerk. In diesen Etagen befinden sich exklusive Apartments, von denen einige über große private Terrassen mit spektakulärem Blick auf die Stadt und das Meer verfügen.


Im 33. Stockwerk befindet sich ein großer Multifunktionsraum, der als Cocktail-Lounge oder als hoteleigener Privatclub genutzt wird – ein äußerst prestigeträchtiger Panoramaraum. Dank der Höhe und der privilegierten Lage des Turms ist die Aussicht von jedem Punkt im Gebäude außergewöhnlich.


Der Maphre Tower, der erste graue Turm im Vordergrund, beherbergt ausschließlich Büros und verfügt über ein besonders innovatives vertikales System: Doppelkabinenaufzüge.

Am Eingang müssen Besucher eine Rolltreppe benutzen, um eine Etage höher zu gelangen und dort die Aufzugskabine zu erreichen, die ihrem Zielgeschoss entspricht. Dieses System optimiert den Besucherfluss und reduziert Wartezeiten.


Zehn Aufzüge fahren bis zum 24. Stock und gewährleisten so eine hohe Transportkapazität zu Stoßzeiten.

Ab dem 24. Stockwerk reduziert sich die Anzahl auf sechs Aufzüge, die die oberen Etagen bedienen.

Das oberste Bürogeschoss ist das 39.; die darüber liegenden Etagen beherbergen Technikräume, während sich auf der Dachterrasse ein Hubschrauberlandeplatz befindet – ein Merkmal, das den Management- und internationalen Charakter des Gebäudes unterstreicht.


Stadtplanerisch gesehen befinden sich diese Türme in einem Gebiet, das durch die Olympischen Spiele 1992 einen radikalen Wandel erfahren hat. Vor diesem Ereignis war das Gebiet fast ausschließlich von Fabriken, Lagerhallen und Industrieanlagen geprägt und wies ein völlig anderes und wenig attraktives Stadtbild auf.


Die Olympischen Spiele markierten einen historischen Wendepunkt: Das Gebiet wurde neu gestaltet, zum Meer hin geöffnet und mit neuen öffentlichen Plätzen, markanten Gebäuden und moderner Infrastruktur ausgestattet. Heute ist dieses Viertel dynamisch, elegant und lebenswert – eines der gelungensten Beispiele für Stadterneuerung. Die beiden Türme sind ein deutliches Symbol dafür.

Was einst ein Industriegebiet war, ist zu einem prächtigen Ort geworden, der sich nahtlos in die Stadt einfügt und sowohl von den dort Arbeitenden als auch von den Besuchern geschätzt wird.

La fotografía muestra dos torres altas y esbeltas. La primera, gris, es la Torre Maphre, destinada principalmente a oficinas; la segunda, un poco más atrás, es la torre del hotel.


La torre del hotel tiene 44 plantas.

Las primeras 33 plantas cuentan con seis ascensores principales con acceso directo, que conectan rápidamente todos los niveles, incluido el aparcamiento. Este sistema permite una circulación fluida e independiente para huéspedes y personal.


La planta 34 cuenta con un elegante sky lobby, que funciona como centro de circulación vertical. Desde aquí, dos ascensores locales dan servicio exclusivamente a las plantas superiores, de la 34 a la 43. Estas plantas albergan apartamentos exclusivos, algunos de los cuales cuentan con amplias terrazas privadas con espectaculares vistas a la ciudad y al mar.


La planta 33 alberga una gran sala multifuncional, utilizada como salón de cócteles o como club privado del hotel, un espacio panorámico de gran prestigio. Las vistas desde cualquier punto del edificio son extraordinarias gracias a la altura de la torre y su privilegiada ubicación.


La Torre Maphre, la primera torre gris visible en primer plano, está dedicada íntegramente a oficinas y cuenta con un sistema vertical particularmente innovador: ascensores de doble cabina.

En la entrada, los visitantes deben utilizar una escalera mecánica para ascender un nivel y acceder al ascensor superior correspondiente a su planta de destino. Este sistema optimiza el flujo y reduce los tiempos de espera.


Diez ascensores operan hasta la planta 24, lo que garantiza una alta capacidad de transporte en horas punta.

A partir de la planta 24, el número se reduce a seis ascensores, dedicados a los niveles superiores.

La última planta, la 39, dedicada a oficinas; las plantas posteriores se dedican a espacios técnicos, mientras que la terraza cuenta con un helipuerto, un elemento que subraya el carácter directivo e internacional del edificio.


Desde una perspectiva urbana, estas torres se ubican en una zona que sufrió una transformación radical gracias a los Juegos Olímpicos de 1992. Antes de ese evento, la zona estaba ocupada casi exclusivamente por fábricas, almacenes e infraestructura industrial, con un tejido urbano completamente diferente y poco atractivo.


Los Juegos Olímpicos representaron un punto de inflexión histórico: la zona se reurbanizó, se abrió al mar y se dotó de nuevos espacios públicos, edificios emblemáticos e infraestructuras modernas. Hoy, este barrio es dinámico, elegante y habitable, uno de los ejemplos más exitosos de regeneración urbana, y las dos torres son un claro símbolo de ello.

Lo que antaño era un distrito industrial se ha convertido en un lugar espléndido, plenamente integrado en la ciudad y apreciado tanto por quienes trabajan allí como por quienes lo visitan.




Sunday, October 19, 2025

Barcelona - Giselle - Bayerische Staatsoper - October 2025

Giselle — The Most Romantic Ballet Returns to Barcelona
21 – 26 October 2025, Gran Teatre del Liceu

No ballet embodies the essence of romanticism more than Giselle — a work of haunting beauty, poetic grace, and timeless emotion. This October, after several years of absence, Giselle returns to the stage of the Gran Teatre del Liceu, performed by the Bayerisches Staatsballett, one of Europe’s most distinguished ballet companies. Under the inspired direction of Laurent Hilaire — himself a legendary star of the Paris Opera Ballet, celebrated for his work with Rudolf Nureyev’s great productions — the company has entered a new golden age.

What makes these five performances so thrilling is not just the ballet itself, but the constellation of ballerinas who may appear as Giselle.  The casting has been announced, though it may change ,every possible interpreter is a Principal Dancer of international stature, ensuring a level of excellence that few companies can match.

The opening night we'll see Ksenia Shevtsova, trained at the fabled Vaganova Academy, offers a Russian refinement and musicality that give her interpretations an ethereal, otherworldly quality. Laurretta Summerscales, a radiant British star, combines fearless technique with a vivid dramatic instinct — her Giselle would be both powerful and heartbreaking. Violetta Keller, newly appointed as Principal Dancer, represents the exciting next generation: fresh, expressive, and full of promise. Elisabeth Tonev, steeped in ballet from birth, brings an aristocratic line and crystalline technique that could shape an unforgettable portrayal.

Ksenia Shevtsova

(October 21 & 26, 2025)
A graduate of the Vaganova Ballet Academy in St. Petersburg, where she trained under Irina Sitnikova, Ksenia Shevtsova began her career as a soloist at the Stanislavsky and Nemirovich-Danchenko Theatre in Moscow, eventually becoming Principal Dancer. Winner of Best Ballerina at the Russian TV competition Bolshoi Ballet (2018) and of the Soul of Dance award (2019), she joined the Bavarian State Ballet in 2023 and was promoted to First Soloist in 2024.
Shevtsova is admired for her crystalline technique and deeply human interpretation. Her Giselle blends classical purity with heartfelt emotion—each arabesque seems to breathe with the pulse of her soul.


Violetta Keller

(October 23, 2025)
Trained at the Ballet School of the Vienna State Opera, Violetta Keller joined the Bavarian State Ballet, where she soon stood out for her elegance, musicality, and radiant stage presence. Her artistry combines romantic lyricism with an inner strength that gives depth to her characters.
In Giselle, Keller embodies innocence and dreamlike grace, yet also quiet resilience. Her dancing is a hymn to lightness, love, and the poetry of movement.


Elisabeth Tonev

(October 24, 2025)
Born in Germany, Elisabeth Tonev trained at the Heinz-Bosl-Stiftung, the ballet academy closely affiliated with the Bavarian State Ballet, and joined the company in 2016. With her artistic maturity and captivating stage presence, she has excelled in both classical and contemporary roles.
Her Giselle is passionate and sincere — a woman of heart and spirit who transforms sorrow into beauty. Tonev’s performance radiates strength, emotion, and truth.


Laurretta Summerscales

(October 25, 2025)
Educated at London’s Arts Educational School, Laurretta Summerscales began her professional career with the English National Ballet, where she rose to the rank of Principal Dancer before joining the Bavarian State Ballet in 2017. Internationally acclaimed for her virtuosity and emotional depth, she is one of Europe’s most beloved ballerinas.
Her Giselle is emotionally riveting—fragile and luminous, yet filled with an inner fire. Summerscales’ total commitment transforms each performance into a profoundly moving experience.

Each ballerina’s style is unique, yet all share the highest artistry, polished under Laurent Hilaire’s discerning eye. This is the magic of a great company: no matter which Giselle graces the stage, audiences will witness ballet at its finest.

The production itself is a jewel. Staged by Peter Wright after the legendary choreography of Coralli, Perrot, and Petipa, with designs by Peter Farmer, it honors the romantic tradition while breathing with contemporary vitality. The Orquestra Simfònica del Gran Teatre del Liceu, under Robertas Šervenikas, will illuminate the score of Adolphe Adam, enriched with music by Friedrich Burgmüller and Riccardo Drigo.

Fresh from triumph at the Munich Opera in July — where audiences saw Giselle danced with rare beauty by Ksenia Shevtsova alongside Julian MacKay, and by Maria Baranova with Jakob Feyferlik — the Bayerisches Staatsballett now brings its artistry to Barcelona. With five performances only, from 21 to 26 October, this will be an unmissable event for every ballet lover.

Tickets are already in high demand. Whether your Giselle is Shevtsova, Summerscales, Keller, or Tonev, one thing is certain: you will experience a masterpiece interpreted by stars of the highest order, guided by a master director who once lit up the Paris Opera stage himself.

Prepare to be moved, uplifted, and utterly spellbound. Giselle is returning to Barcelona — and she is more radiant than ever.

  • On October 21 and 26, Ksenia Shevtsova, trained at the legendary Vaganova Academy, opens and closes the run. Her Giselle, steeped in Russian lyricism and purity of line, will be seen twice, offering audiences two chances to discover her ethereal artistry. She will be partnered first by Jakob Feyferlik (Oct 21), noble and elegant as Albrecht, and then by the magnetic Julian MacKay (Oct 26).

  • On October 23, Violetta Keller takes the role, dancing alongside Julian MacKay, a dancer of striking presence and refined technique. Their pairing promises a fiery and heartfelt reading of the tragedy.

  • On October 24, it is Elisabeth Tonev who steps into Giselle’s world. With Jakob Feyferlik as her Albrecht and Florian Ulrich Sollfrank as Hilarion, her performance is expected to blend delicacy with deep dramatic power.

  • On October 25, the stage belongs to the British star Laurretta Summerscales, whose luminous artistry and emotional clarity have captivated audiences worldwide. She will be joined by the virtuosic Osiel Gouneo as Albrecht and Robin Strona as Hilarion — a trio that promises fireworks of passion and intensity.

Around them, the Albrechts — Feyferlik, MacKay, Gouneo — reveal the many shades of nobility, deception, and remorse. The Hilarions — Strona, Ivkin, Sollfrank — ground the story in earthy passion and tragic fate.


In these Barcelona performances, no two evenings will be the same. Every Giselle will give her soul, every Albrecht will reveal another face of desire and regret, every Hilarion will remind us of love unreturned.

What unites them all is the eternal truth of this ballet: that love, in its most fragile and exalted form, lives on — even beyond the grave.

«Жизель» — самый романтичный балет возвращается в Барселону

21–26 октября 2025 года, Театр Лисео

Giselle — An Enchanting Triumph in Barcelona ✨

Last night’s premiere of Giselle was nothing less than a revelation — a dazzling celebration of artistry, emotion, and the eternal magic of ballet. From the first delicate notes of the overture to the final, heart-stirring moments, the audience was transported into a world of poetry, passion, and spectral beauty.

The production, under the masterful direction of Peter Wright, pays homage to the timeless choreography of Coralli, Perrot, and Petipa, preserving its romantic purity while breathing into it a freshness and vitality that feels utterly alive. The orchestra, conducted with exquisite sensitivity, performed with shimmering color and lyrical grace — a soundscape as tender as it was thrilling. Every phrase, every crescendo seemed to pulse in harmony with the dancers’ breath.

The sets and costumes by Peter Farmer created an atmosphere of haunting loveliness — soft mists, moonlit forests, and rustic village scenes that shimmered with painterly detail. It was a feast for the senses, evoking the ethereal charm and melancholy spirit that define Giselle.

The dancers themselves were radiant — a company of extraordinary talent, commitment, and unity. Their precision was impeccable, yet never mechanical; their movements flowed like living music.

The leading roles, Giselle and Albrecht, were performed with transcendent beauty. Their chemistry illuminated the stage with emotion so palpable it drew tears from many in the audience. Every arabesque, every lift, every trembling gesture spoke of innocence, betrayal, forgiveness, and eternal love.

Cast – October 23

Choreography after: Coralli / Perrot / Petipa
Production and staging: Peter Wright
Libretto: Théophile Gautier & Jules-Henri Vernoy de Saint-Georges
Music: Adolphe Adam, Friedrich Burgmüller, Riccardo Drigo
Sets and Costumes: Peter Farmer
Musical Direction: Robertas Šervenikas

GiselleVioletta Keller
Albrecht, Duke of FranconiaJulian MacKay
HilarionKonstantin Ivkin
Berthe, Giselle’s MotherSéverine Ferrolier
Duke of CourlandFlorian Ulrich Sollfrank
Bathilde, his DaughterElisa Mestres
Wilfried, Albrecht’s ConfidantSeverin Brunhuber
Huntsmen LeaderZoltán Manó Beke
Pas de six Solo LadyZhanna Gubanova
Pas de six Solo GentlemanFrederick Stuckwisch
Myrtha, Queen of the WilisCarollina Bastos
MoynaMaria Chiara Bono
ZulmeMargarita Giselle

Each artist contributed a distinctive brilliance to this ensemble. From the powerful nobility of Julian MacKay’s Albrecht to the lyrical vulnerability of Violetta Keller’s Giselle, their partnership captured the very essence of romantic ballet. MacKay’s effortless technique and princely bearing were matched by the emotional transparency of Keller’s dancing — a Giselle of exquisite fragility and spiritual radiance.


The audience yesterday was also thrilled by Jakob Feyferlik, who, following his recent triumph at the Teatro Colón in Buenos Aires in Onegin with Marianela Núñez, offered in Barcelona an Albrecht of unforgettable depth and poetic intensity. His interpretation was noble, heartfelt, and technically impeccable — an ideal Albrecht, impossible to forget. he will dance again the 24th october with Elisabeth Tonev.

Florian Ulrich Sollfrank, fresh from his success on the 21st, once again enchants audiences with his refined artistry. His Albrecht glows with elegance, his entrechats are of breathtaking brilliance — he embodies the perfect romantic hero.

Upcoming Performances

On October 25, the luminous Laurretta Summerscales will take the stage as Giselle, bringing her radiant presence and deeply expressive artistry, alongside the incomparable Osiel Gouneo as Albrecht, whose charisma and strength add magnetic energy to every scene. Robin Strona will bring his passionate artistry to the role of Hilarion, adding dramatic power to the story’s unfolding tragedy.

Then, on October 26, audiences will be once again spellbound by the divine and mesmerizing Ksenia Shevtsova, whose portrayal of Giselle has already left a lasting impression. She dances with an otherworldly grace, combining ethereal technique with profound emotional truth. She will be partnered by Julian MacKay as Albrecht and Konstantin Ivkin as Hilarion — a trio of artists whose chemistry promises another night of pure enchantment.


Every performance of this Giselle is a unique jewel — a union of dance, music, and emotion that transcends time. It is a testament to the power of classical ballet to move, to transport, and to transform.

With its blend of romantic elegance, haunting beauty, and human truth, this production reminds us why Giselle remains one of the crown jewels of the repertoire. Under Peter Wright’s inspired vision and with this exceptional company of dancers, it becomes not merely a ballet, but a dream made visible — a living poem of love and redemption that will linger long in the hearts of all who witness it.

Ни один балет не воплощает в себе саму суть романтизма лучше, чем «Жизель» — произведение, сочетающее в себе завораживающую красоту, поэтическую грацию и неподвластные времени эмоции. В октябре этого года, после нескольких лет отсутствия, «Жизель» возвращается на сцену Театра Лисео в исполнении Баварского государственного балета, одной из самых выдающихся балетных компаний Европы. Под вдохновенным руководством Лорана Илера — легендарной звезды Парижской оперы, прославившейся работой в великих постановках Рудольфа Нуреева, — труппа вступила в новый золотой век.


Эти пять спектаклей делают захватывающими не только сам балет, но и созвездие балерин, которые могут выступить в роли Жизели. Хотя состав исполнителей пока не объявлен, каждая из возможных исполнительниц — это ведущий солист международного уровня, что гарантирует уровень мастерства, с которым могут сравниться лишь немногие труппы.


Мария Баранова, с её лучезарной фразировкой и безмятежным классицизмом, танцует с внутренней лирикой, идеально подходящей невинности и хрупкости Жизели. Ксения Шевцова, выпускница прославленной Академии имени Вагановой, обладает русской утончённостью и музыкальностью, которые придают её интерпретациям воздушность, потусторонность. Лауретта Саммерскейлс, блистательная британская звезда, сочетает бесстрашную технику с ярким драматическим чутьём — её Жизель была бы одновременно мощной и душераздирающей. Виолетта Келлер, недавно назначенная на пост прима-балерины, представляет собой яркое новое поколение: свежее, выразительное и многообещающее. Элизабет Тонев, с детства погруженная в балет, привносит аристократическую линию и кристальную технику, способную создать незабываемый образ.


Стиль каждой балерины уникален, но всех их объединяет высочайший артистизм, отточенный под проницательным взглядом Лорана Илера. В этом и заключается магия великой труппы: независимо от того, какая «Жизель» появится на сцене, зрители увидят балет в его лучшем проявлении.


Сама постановка — настоящая жемчужина. Поставленная Питером Райтом по легендарной хореографии Коралли, Перро и Петипа, в декорациях Питера Фармера, она чтит романтические традиции, одновременно вдыхая в себя современную энергию. Симфонический оркестр Большого театра Лисео под управлением Робертаса Шервеникаса исполнит партитуру «Адольфа Адана», дополненную музыкой Фридриха Бургмюллера и Риккардо Дриго.


После триумфа в Мюнхенской опере в июле, где зрители увидели «Жизель» в исполнении Ксении Шевцовой и Джулиана Маккая, а также Марии Барановой и Якоба Фейферлика, Баварский государственный балет теперь представляет своё искусство в Барселоне. Всего пять представлений, с 21 по 26 октября, станут незабываемым событием для каждого любителя балета.


Билеты уже пользуются огромным спросом. Независимо от того, кто исполняет вашу «Жизель» — Баранова, Шевцова, Саммерскейлс, Келлер или Тонев, одно можно сказать наверняка: вы увидите шедевр в интерпретации звёзд высочайшего класса под руководством мастера-режиссёра, который когда-то сам блистал на сцене Парижской оперы.


Приготовьтесь к волнению, воодушевлению и полному очарованию. «Жизель» возвращается в Барселону — и она ещё более сияющая, чем когда-либо.

Giselle — Le ballet le plus romantique revient à Barcelone

21 – 26 octobre 2025, Gran Teatre del Liceu


Aucun ballet n'incarne mieux l'essence du romantisme que Giselle : une œuvre d'une beauté envoûtante, d'une grâce poétique et d'une émotion intemporelle. En octobre, après plusieurs années d'absence, Giselle revient sur la scène du Gran Teatre del Liceu, interprétée par le Bayerisches Staatsballett, l'une des compagnies de ballet les plus prestigieuses d'Europe. Sous la direction inspirée de Laurent Hilaire, lui-même étoile légendaire du Ballet de l'Opéra de Paris, célébré pour son travail avec les grandes productions de Rudolf Noureev, la compagnie entre dans un nouvel âge d'or.


Ce qui rend ces cinq représentations si passionnantes, ce n'est pas seulement le ballet lui-même, mais aussi la constellation de ballerines qui pourraient incarner Giselle. Bien que la distribution n'ait pas encore été annoncée, chaque interprète potentiel est un danseur étoile de renommée internationale, garantissant un niveau d'excellence que peu de compagnies peuvent égaler.


Maria Baranova, avec son phrasé lumineux et son classicisme serein, danse avec un lyrisme intérieur parfaitement adapté à l'innocence et à la fragilité de Giselle. Ksenia Shevtsova, formée à la légendaire Académie Vaganova, offre un raffinement et une musicalité russes qui confèrent à ses interprétations une qualité éthérée et surnaturelle. Laurretta Summerscales, radieuse étoile britannique, allie une technique audacieuse à un sens dramatique vif – sa Giselle serait à la fois puissante et bouleversante. Violetta Keller, nouvellement nommée danseuse étoile, incarne la nouvelle génération prometteuse : fraîche, expressive et pleine de promesses. Elisabeth Tonev, baignée dans le ballet depuis sa naissance, apporte une ligne aristocratique et une technique cristalline qui pourraient façonner une interprétation inoubliable.


Le style de chaque ballerine est unique, mais toutes partagent un art irréprochable, peaufiné sous l'œil avisé de Laurent Hilaire. C'est la magie d'une grande compagnie : quelle que soit la Giselle qui montera sur scène, le public assistera à un ballet d'une splendeur exceptionnelle.


La production elle-même est un joyau. Mis en scène par Peter Wright d'après la chorégraphie légendaire de Coralli, Perrot et Petipa, avec des décors de Peter Farmer, il honore la tradition romantique tout en insufflant une vitalité contemporaine. L'Orquestra Simfònica del Gran Teatre del Liceu, sous la direction de Robertas Šervenikas, illuminera la partition d'Adolphe Adam, enrichie par des musiques de Friedrich Burgmüller et Riccardo Drigo.


Fort de son triomphe à l'Opéra de Munich en juillet, où le public a pu admirer Giselle dansée avec une rare beauté par Ksenia Shevtsova aux côtés de Julian MacKay et par Maria Baranova avec Jakob Feyferlik, le Bayerisches Staatsballett présente désormais son art à Barcelone. Avec seulement cinq représentations, du 21 au 26 octobre, ce sera un événement incontournable pour tout amateur de ballet.


Les billets sont déjà très demandés. Que votre Giselle soit Baranova, Shevtsova, Summerscales, Keller ou Tonev, une chose est sûre : vous vivrez un chef-d’œuvre interprété par des stars de premier plan, guidées par un maître metteur en scène qui a illuminé la scène de l’Opéra de Paris.


Préparez-vous à être émue, exaltée et profondément envoûtée. Giselle revient à Barcelone, plus rayonnante que jamais.

  •  

Thursday, February 6, 2025

The history of tramway

 

Moscow

The history of the tramway — a journey through cities and time

A tramway — also known as a tram, streetcar, or trolley — is a form of urban rail transport that runs along tracks built into city streets. For more than two centuries, trams have helped people move through growing cities in a clean, efficient, and friendly way.

Although they may seem modern today, their story began long ago.


The earliest trams: rails before engines

The very first passenger tram system appeared in 1804 in Wales, with the Swansea and Mumbles Railway. At first, these early trams were pulled by horses.

Interestingly, tramways developed earlier in the United States than in Europe. This happened because American streets were often poorly paved, making horse-drawn buses uncomfortable and slow. Rails made travel smoother and easier.

One of the earliest recorded trams operated in Baltimore in 1828, and soon after, in 1832, New York opened what is considered the first true urban street railway along Bowery and Fourth Avenue.

By 1835, New Orleans launched a line that still exists today — the famous St. Charles Streetcar Line, one of the oldest continuously operating tram lines in the world.


🇪🇺 Trams arrive in Europe and the world

Europe followed soon after. The first European tramway opened in Paris in 1855, and quickly spread to cities like:

Berlin, London, Vienna, Budapest, Lisbon, Madrid, Barcelona, and Saint Petersburg.

Trams also expanded globally:

Santiago de Chile opened South America’s first tram in 1858
Sydney followed in 1860
Alexandria, Egypt in 1863
Jakarta (Batavia) in 1869

Soon, trams were connecting neighborhoods across every continent.


New technologies: cable cars and electric trams

Not all early trams used horses.

In the late 1800s, cable cars appeared — pulled by underground moving steel cables. San Francisco tested the first practical system in 1873, and cities like Chicago and Melbourne built massive cable networks.

Then came the greatest revolution: electric trams.

In 1875, inventor Fyodor Pirotsky tested the world’s first electric tram near Saint Petersburg.
By the 1880s and 1890s, electric streetcars spread rapidly across Europe and America, transforming urban transport forever.

Cities like Prague, Kyiv, Milan, Berlin, Vienna, Madrid, Barcelona, and many others adopted this cleaner, faster system.


The golden age of tramways

By the early 20th century, trams were the backbone of city transport.

Some networks became enormous:

• Paris once had over 1,000 km of tram lines
• Buenos Aires, Chicago, Berlin, London, and St. Petersburg had hundreds of kilometers of track
• Melbourne eventually became the largest tram system in the world — a title it still holds today

Trams shaped how cities grew, creating lively streets and connected neighborhoods.

 Decline — and rebirth

After World War II, many cities removed their tram systems, replacing them with buses and cars. Streets were redesigned for automobiles, and railways were seen as old-fashioned.

But something important was lost: clean transport, smooth rides, and human-friendly streets.

From the late 20th century onward, cities began to bring trams back — realizing their huge benefits:

✔ less pollution
✔ less traffic
✔ more passengers than buses
✔ quieter and smoother travel
✔ beautiful, green tracks in modern cities
✔ encouragement to leave cars at home

Today, tramways are symbols of sustainable urban life.


Trams today — moving cities into the future

Modern trams are fast, accessible, electric, and comfortable. They glide through city centers, connect to metro and train systems, and even help revive neighborhoods.

Many cities now design green corridors along tram tracks, planting grass and flowers that reduce noise and make streets more pleasant.

When trams appear, people naturally use cars less and enjoy the city more.

Networks in the world by route length as of 2016 are: Melbourne (256 km; 159 mi)Kyiv (231 km; 144 mi) Saint Petersburg (205.5 km; 127.7 mi) Cologne (194.8 km; 121.0 mi)Berlin (191.6 km; 119.1 mi) Moscow (183 km; 114 mi) Milan (181.8 km; 113.0 mi)Budapest (172 km; 107 mi)


 A transport system with soul

Trams are not just vehicles.
They are part of city life.

They carry workers in the morning, families in the afternoon, tourists discovering streets, and students heading home at night. They connect history with modern life — past with future.

From horse-drawn cars in the 1800s to today’s silent electric trains, tramways remain one of the most beautiful ways to move through a city.

Saint Petersburg - Giuseppe Verdi - La forza del destino - Mariinsky Theatre - 30th April 2026

On Thursday, April 30th, 2026, Mariinsky Theatre will host an event of truly exceptional artistic and historical importance: a rare performa...